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Journal articles on the topic 'Lithographs'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Dziuban, Roman. "LUDVIK ZELINSKY AND HIS COOPERATION WITH ILLUSTRATORS OF THE MAGAZINE LWOWIANIN (1835–1842)." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 225–75. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-11.

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The constant growth of interest of both researchers and the general public in studying the formation of the so-called. local (local, narrow-regional) press, in our case – Galicia (Lviv), as well as the role of lithographers in this process, prompted us to study this initial stage of formation of the Galician press. Our task was to outline the circle of artists-collaborators of the first local lore Polish-language magazine Lwowianin in Galicia, through the prism of the biography of its publisher Ludwik Zelinsky to show the creative activity of lithographers involved in the publication of the magazine in 1835–1842. Research methodology. The study mainly used biographical, descriptive and iconographic methods. Methods of historical source, comparative-statistical, as well as general historical methods were also used. Conclusions. A review of the illustrative material of Lwowianin magazine in the context of the biography of the publisher Ludwik Zelinsky, biographical and creative, far from complete, information about the lithographers involved in his work, allows to outline the level of their creative activity in the publication. In the initial period – the period of formation of the magazine (the first half of 1835), the level of Lwowianin design was not high. This year, low-level artist E. Stoltz and amateur artist A. Tomashevsky were involved in the work of the magazine. What is especially characteristic of Stoltz, and not at all typical of other designers of the magazine, he created eight woodcuts (woodcuts). Philip Rebiger collaborated with the magazine even before he entered the Vienna Academy of Fine Arts (1837). It is the lithographs of A. Tomaszewski’s self-taught work, which he submitted to the journal during 1835–1837, that Lwowianin contains the most. Two lithographs for Lwowianin were made by professional artists T. Zhykhovych (1836) and A. Nigroni (1837). In 1839, L. Zelinsky invited the well-known professional artist and lithographer Josef Svoboda to collaborate with the magazine. for L. Zelinsky, and it is very likely that he, not P. Piller, became Auer’s first employer, inviting him to Lviv. Only A. Tomaszewski made more illustrations for the magazine, although in the end L. Zelinsky preferred K. Auer to design the last issues of the magazine. In the appendix we publish one letter of A. Tomaszewski, one letter of J. Swoboda and eight letters of K. Auer. Keywords: lithographer, lithography, carving, artist, Ludwik Zelinsky, magazine, Lwowianin, Edward Stoltz, Teofil Zhykhovych, Adolf Nigroni, Aloysius Tomaszewski, Philip Rebiger, Josef Svoboda, Carl Auer, Peter Piller, letters, Zolochiv.

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2

Vandаlovskyi, V. "Artistic and technical features of the lithographic manner mixed technique." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 92–98. http://dx.doi.org/10.33838/naoma.27.2018.92-98.

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Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.

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3

Meijer, Rob, Peter Thomson, and Lysbeth Croiset van Uchelen-Brouwer. "The History of the Lithographie Royale, 1818-25." Quaerendo 31, no. 4 (2001): 281–306. http://dx.doi.org/10.1163/157006901x00173.

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AbstractFrom 1816 lithographic businesses began to develop in Western Europe. Use was made of a printing technique, lithography - based on the repellent working of water and fat - which was catching on especially in Germany and France. The Low Countries remained behind: early in 1818 only small lithographic printing offices were to be found in Brussels, Amsterdam and Rotterdam. At about that time the Frenchman MJ.V. Duval de Mercourt, calling himself an architect, presented himself in the Netherlands. Stimulated by the Dutch envoy at the court of Paris, Baron Fagel, he requested King William I to be permitted to found lithographical offices in The Hague and Brussels and to call himself Royal Lithographer. This was permitted by Royal Decree of 16 July 1818. Added to it was, highly unusually, that the establishment of Duval was greeted with approval, and that the hope was expressed that he might succeed in his attempts. The background of all this was the industrialisation policy that was pursued more in particular by the king himself. Indeed, Duval set about his business with great expectations and fervour. Probably he officially opened a - for Dutch standards - large lithographic printing office which consisted of at least two presses, which he called the Lithographie Royale'. He focused in particular on government commissions and especially on making autographs of written documents which up to that time had to be copied by hand. This technique, where writing was done with fat ink on prepared paper, after which the text was transferred to the stone and printed, seemed a godsend indeed. This autographic technique also had the king's interest: for, would it not be possible to introduce it and subsequently discharge clerks at the ministries? The future seemed to favour Duval, but alas, reality was different. It appeared that government as well as private institutions would provide him with hardly any work, possibly because of his high prices. It is also remarkable that some ministries did not want to have anything to do with this new printing method. After half a year he was already threatened with financial downfall, also through a loss he had personally suffered and the downward turn of the Dutch economy. The king then intervened with a number of measures in favour of Duval, of which the most important was that he was allowed to work for the Ministry of Water Management. An attempt was also made to accommodate him at the Algemeene Landsdrukkerij in The Hague, a government printing office with a monopoly on all government printed matter. The directors, however, confirmed letterpress printers, did not believe in this new printing technique which, according to them, could have no future because it would always be more expensive than their own beautiful printing. Because the locations of the ministries were changing between The Hague and Brussels about every half year, Duval was forced to follow the Ministry of Water Management to Brussels and to found a lithographic printing office there as well. Although he was supplied with more work there, he appeared to be at the end of his tether half way through 1819 due to a lack of financial resources. His financial situation was such that he was even refused a government advance because it was feared that he would not be able to reimburse it. Thereafter he was forced to make a disadvantageous contract with a private person, after which he left for The Hague, a destitute man. Although work from the Ministry of Water Management was also given to him there, things continued to go downhill for him. He now also lost his premises in The Hague so that he could no longer accept commissions. True, some time later a new place was found, but he had to agree that his co-worker, D. Abrahams, was to be appointed as his partner. Halfway through 1820 there arrived at last a reply to the many petitons and pleas he had sent to the king. This was, however, negative, because it was feared that a financial contribution from the government might slow down the downfall of his enterprise, but would not prevent it. Even damages were not granted because he was supposed to have given a false impression of things. He then left first to go to Brussels and later on to France, leaving his lithographic printing office in The Hague to Abrahams. The latter succeeded in getting the enterprise off to a good start within a few years, notably by making lithographs and trading in lithographs and sheet music, the main aim of the business. From about 1823 the number of commissions for lithographs increased, with a marked improvement in the quality of his work. This resulted in an honourable mention in the second industry exhibition held in the Netherlands in the summer of 1825. During this exhibition he was appointed first lithographer at the Algemeene Landsdrukkerij! This was because the king had intervened anew in the field of lithography and persevered against the advice of his minister in having an autographic printing office there, an office that was to be closed in 1832 due to lack of work and with great losses. The Lithographic Royale subsequently stopped its activities after Abrahams had received a compensation in his salary for it. Finally, the lithographic activities in The Hague were continued by his brother, A.M. Abrahams, on a modest scale.

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4

Nargiza Shirinova. "DESCRIPTION OF MEDICAL LITHOGRAPHS CREATED IN TURKESTAN IN THE 19TH AND EARLY 20TH CENTURIES." International Journal on Integrated Education 3, no. 12 (December 3, 2020): 64–67. http://dx.doi.org/10.31149/ijie.v3i12.914.

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This article provides detailed information on medical lithographs written in the late 19th and early 20th centuries. Description, annotation and content of lithographs on medicine kept in the manuscript collection of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan are open to a wide range of readers.

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5

Sullivan, Ann M. "Lithographs by Alexander Calder." Mayo Clinic Proceedings 77, no. 4 (April 2002): 401. http://dx.doi.org/10.4065/77.4.401.

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Schein, R. H. "Representing Urban America: 19th-Century Views of Landscape, Space, and Power." Environment and Planning D: Society and Space 11, no. 1 (February 1993): 7–21. http://dx.doi.org/10.1068/d110007.

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Approximately 5000 lithographic views of cities across America were produced and copies were widely disseminated in the century after 1825, In this paper, urban lithographs are examined as landscape texts in light of contemporary notions of space, vision, representation, and power. A major shift in the genre of urban representation from ‘pictorial’ to ‘bird's-eye’ views is presented as capturing the story of an emerging industrial-capitalist order; as embodying the place of the individual within that order; and as actively legitimating/promoting particular visions of change and progress. Interpreting urban views illustrates the problematic nature of representation and the need to examine particular landscapes/representations within their cultural contexts.

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Barton, Aleisha. "Contemplating Light: Experiencing Victor Moscoso’s Psychedelic Lithographs in the Museum." Arts 12, no. 5 (September 27, 2023): 213. http://dx.doi.org/10.3390/arts12050213.

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Beginning in 1966, Victor Moscoso designed many of his psychedelic posters for the stroboscopic light shows of the San Francisco dance halls. Moscoso innovated a new mode of print that depended on its environment—kinetic lithography, a product of creative experimentation. He developed multiple iterations of this medium; however, installing it outside of its original context of the psychedelic dance hall continues to pose a unique challenge for preparators and curators alike. Today, museum display of his works relies upon experimental settings to activate his site-specific design. This article considers how immersive displays and antistatic artworks demand a new kind of relationship between visitor and artwork by decentering the museum’s longstanding emphasis on the optical, a regime that has long served to frame posters and ephemera in contexts of display rather than as active objects. By analyzing two recent exhibitions displaying Moscoso’s kinetic lithographs (The Summer of Love Experience, 2017, and Moscoso Cosmos, 2021), this article considers the mechanics of the print itself, curatorial decisions, and visitor engagement to assess the site-specific demands of a genre-bending medium.

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Miró, Fundacio Joan. "Art at Mayo Clinic Lithographs." Mayo Clinic Proceedings 76, no. 5 (May 2001): 501. http://dx.doi.org/10.4065/76.5.501.

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9

Mirzorakhimov, A. "HISTORICAL AND RELIGIOUS LITHOGRAPHIC BOOKS ON THE LITERARY HERITAGE OF UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 11 (November 1, 2022): 24–32. http://dx.doi.org/10.37547/history-crjh-03-11-05.

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Although books on the history of Central Asian petroglyphs have been widely published, no scientific research has been carried out in this regard to date. Of course, there are specific reasons for this situation, first of all, the rise of ideas that the people of Central Asia were backward and illiterate in the period before the October coup d'état of 1917, attempts to falsify knowledge about historical periods that educate the population in the spirit of patriotism and freedom, the study of lithographic books about history hindered in a way. Also, the focus on handwritten books in the coverage of historical processes has led to the exclusion of historical lithographic books. However, lithographic books were important not only from a source point of view, but also from a social point of view. It should be noted that the wider spread of manuscript books, as well as the social factor of lithographic books, allowed for the wide distribution of important historical sources among the population. Taking into account the fact that the work “History of Mullozoda” was published several times in lithographs, it is possible to know how widespread it was among the population [1].

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Faria, Alberto. "Between Light and Shade." Studies in Digital Heritage 3, no. 2 (June 12, 2020): 122–27. http://dx.doi.org/10.14434/sdh.v3i2.27720.

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The Faculty of Fine Arts of the University of Lisbon (FBAUL) holds a Collection of Lithographs, dated between 1840 and 1911, related to the memory of teaching Drawing in the nineteenth century. Lithographs after works of Italian Old Masters like Raphael Sanzio and Pompeo Batoni, respectively, Drawing Courses of French artists of the second half of the nineteenth century like Charles Bargue, Auguste Allongé among others, relate this Collection with its European counterpart of the nineteenth century. The FBAUL Virtual Print Room is a bilingual (Portuguese/English) website project to enable users in the future to have access to the Inventory and Knowledge of the Collection and build connections with other Archives worldwide.

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Coltelli, Primo, Laura Barsanti, and Paolo Gualtieri. "Unveiling the Secrets of Escher’s Lithographs." Journal of Imaging 6, no. 2 (February 21, 2020): 5. http://dx.doi.org/10.3390/jimaging6020005.

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An impossible structure gives us the impression of looking at a three-dimensional object, even though this object cannot exist, since it possesses parts that are spatially non-connectable, and are characterized by misleading geometrical properties not instantly evident. Therefore, impossible artworks appeal to our intellect and challenge our perceptive capacities. We analyzed lithographs containing impossible structures (e.g., the Necker cube), created by the famous Dutch painter Maurits Cornelis Escher (1898–1972), and used one of them (The Belvedere, 1958) to unveil the artist’s hidden secrets by means of a discrete model of the human retina based on a non-uniform distribution of receptive fields. We demonstrated that the ability of Escher in composing his lithographs by connecting spatial coherent details into an impossible whole lies in drawing these incoherent fragments just outside the zone in which 3D coherence can be perceived during a single fixation pause. The main aspects of our paper from the point of view of image processing and image understanding are the following: (1) the peculiar and original digital filter to process the image, which simulates the human vision process, by producing a space-variant sampling of the image; (2) the software for the filter, which is homemade and created for our purposes. The filtered images resulting from the processing are used to understand impossible figures. As an example, we demonstrate how the impossible figures hidden in Escher’s paintings can be understood.

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Heckenberg, Kerry. "THOMAS MITCHELL AND THE WELLINGTON CAVES: THE RELATIONSHIP AMONG SCIENCE, RELIGION, AND AESTHETICS IN EARLY-NINETEENTH-CENTURY AUSTRALIA." Victorian Literature and Culture 33, no. 1 (March 2005): 203–18. http://dx.doi.org/10.1017/s106015030500080x.

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THOMASMITCHELL(1792–1855), explorer and Surveyor-General in New South Wales between 1828 and 1855, was a talented and competent draughtsman who was responsible for the original sketches and even some of the lithographs he used to illustrate his two journals of exploration, published in 1838 and 1848. In this paper, I will be concerned with the 1838 journal, entitledThree Expeditions into the Interior of Eastern Australia; with descriptions of the recently explored region of Australia Felix, and of the Present Colony of New South Wales. On the whole, it is a detailed and lavishly illustrated account of the land Mitchell encountered, along with its inhabitants and natural history. My particular interest is in offering an explanation for differences between a sepia sketch depicting a cave at Wellington, NSW, that Mitchell prepared as one of the illustrations for geological material included in this journal, and the final lithograph.

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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus." Orientalistica 6, no. 2 (September 6, 2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.

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This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.

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Shodmonova, Sanobar. "Publishing and book sales in Turkestan." Infolib 26, no. 2 (June 30, 2021): 76–80. http://dx.doi.org/10.47267/2181-8207/2021/2-066.

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The article introduces the history of the origin of publishing and printing activities in the Turkestan Territory. It is preceded by information that before the formation of the first printing houses on the territory of the region, books were mainly distributed by calligraphers through rewriting. And since this work was of a long-term nature, accordingly the prices for the books were considerable.Comparing with the beginning of the introduction of the first technical means, the author notes that publishing and printing activities in the region began to gradually develop in the 60s of the XIX century. Until that time, books printed in lithographic format were mainly imported. The first printing house during the period of the Russian Empire opened in 1723 in Astrakhan. But in Tashkent only by the beginning of the XX century. there were 5 printing houses in the new part and two lithographs in the old town part.

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Khasanova, Shafoat. "Lithographs Of Alisher Nava’i’s Works Kept In The Museum Of Literature." American Journal of Interdisciplinary Innovations and Research 02, no. 08 (August 27, 2020): 97–101. http://dx.doi.org/10.37547/tajiir/volume02issue08-13.

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Fonseca Capdevila, E. "José Eugenio de Olavide Landazábal: Photographs and Lithographs." Actas Dermo-Sifiliográficas (English Edition) 112, no. 5 (May 2021): 485–86. http://dx.doi.org/10.1016/j.adengl.2021.01.026.

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Peet, Phyllis, Susan Barnes Robinson, John Pirog, Pegram Harrison, and Suzanne Boorsch. "Mabel Dwight: A Catalogue Raisonne of the Lithographs." Woman's Art Journal 20, no. 2 (1999): 52. http://dx.doi.org/10.2307/1358988.

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Inabinet, Brandon. "Democratic Circulation: Jacksonian Lithographs in U.S. Public Discourse." Rhetoric and Public Affairs 15, no. 4 (December 1, 2012): 659–66. http://dx.doi.org/10.2307/41940628.

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Thomas, Frédéric. "Everything on Bamboo. Review on the book by Đinh Trọng Hiếu & Emmanuel Poisson “Le bambou au Vietnam. Une approche anthropologique et historique”." Russian Journal of Vietnamese Studies 5, no. 1S (December 16, 2021): 119–21. http://dx.doi.org/10.54631/vs.2021.s-119-121.

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The review is given for the book “Bamboo in Vietnam. An Anthropological and Historical Approach” by Đinh Trọng Hiếu and Emmanuel Poisson. The book is richly illustrated with old engravings and lithographs. It is a kind of encyclopedia that describes in detail the whole range of uses of bamboo in the life of the Vietnamese.

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Idrobo, Carlos. "Sensing Boundaries on Foot." Ennen ja nyt: Historian tietosanomat 21, no. 3 (June 17, 2021): 43–69. http://dx.doi.org/10.37449/ennenjanyt.109311.

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This article examines the material and socio-cultural mechanisms by which everyday urban and rural walking is controlled, regulated, limited, or affected, as seen through the lens of nineteenth century visual arts with support of literary and historical accounts. Inspired by the interdisciplinary research on walking, I discuss three cases of different cultural and historical backgrounds and examine therein the instances in which the experience of walking cannot fully take place, or its movements are shaped or controlled by real or imaginary forces, either external or internal, or even by other modes of transportation: 1) C. G. Carus’ socially constrained travelling in Italy in 1828, leading up to his painting Erinnerung an Neapel, 2) the history of the Pont Neuf and the use and regulation of Paris footways through lithographs and ‘impressionist’ paintings in the Third Republic, and 3) the motif of the ‘riukuaita’ (round-pole fence) in lithographs, landscape paintings and photographs during the Golden Age of Finnish Art. Thus, art objects are considered as both artworks and historical documents that illuminate the imaginary and actuality of historical events related to migration, bordering processes, and control of mobility.

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Wang, X. "Russian Lithographs of 20th Century and “Shuxiexing” Aesthetic Principles." Университетский научный журнал, no. 44 (2019): 58–61. http://dx.doi.org/10.25807/pbh.22225064.2019.44.58.61.

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ROBBINS, ELEANOR. "DRAWN FROM NATURE - THE PLANT LITHOGRAPHS OF ELLSWORTH KELLY." Art Book 13, no. 1 (February 2006): 29–30. http://dx.doi.org/10.1111/j.1467-8357.2006.00629.x.

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Lund, Sarah E. "Fossils: Lithography’s Porous Time and Eugène Delacroix’s Faust Marginalia." Nineteenth Century Studies 35 (November 2023): 1–32. http://dx.doi.org/10.5325/ninecentstud.35.0001.

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Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.

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Omarkhali, Khanna. "An Amulet Scroll from Erzurum from August D. Żaba’s Kurdish Collection in the Manuscript Department, National Library of Russia, Kurd. 51." Journal of Islamic Manuscripts 13, no. 3 (August 1, 2022): 291–324. http://dx.doi.org/10.1163/1878464x-01303004.

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Abstract This article presents an edition, translation, and study of the amulet scroll Kurd. 51 from the Kurdish collection of August D. Żaba that was presented by him to the Manuscript Department of the National Library of Russia (NLR) in St Petersburg in 1868 along with 52 manuscripts and lithographs. The amulet contains passages in Arabic and Persian and was found, according to Żaba, among the Kurds in Erzurum.

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Kwon, B., and Jong H. Kim. "Importance of Molds for Nanoimprint Lithography: Hard, Soft, and Hybrid Molds." Journal of Nanoscience 2016 (June 22, 2016): 1–12. http://dx.doi.org/10.1155/2016/6571297.

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Nanoimprint lithography has attracted considerable attention in academic and industrial fields as one of the most prominent lithographic techniques for the fabrication of the nanoscale devices. Effectively controllable shapes of fabricated elements, extremely high resolution, and cost-effectiveness of this especial lithographic system have shown unlimited potential to be utilized for practical applications. In the past decade, many different lithographic techniques have been developed such as electron beam lithography, photolithography, and nanoimprint lithography. Among them, nanoimprint lithography has proven to have not only various advantages that other lithographic techniques have but also potential to minimize the limitations of current lithographic techniques. In this review, we summarize current lithography techniques and, furthermore, investigate the nanoimprint lithography in detail in particular focusing on the types of molds. Nanoimprint lithography can be categorized into three different techniques (hard-mold, soft-mold, and hybrid nanoimprint) depending upon the molds for imprint with different advantages and disadvantages. With numerous studies and improvements, nanoimprint lithography has shown great potential which maximizes its effectiveness in patterning by minimizing its limitations. This technique will surely be the next generation lithographic technique which will open the new paradigm for the patterning and fabrication in nanoscale devices in industry.

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Goldmann, Meghan. "EXAMINATION AND TREATMENT OF EARLY ANDY WARHOL HAND-COLORED LITHOGRAPHS." Studies in Conservation 47, sup3 (September 2002): 78–82. http://dx.doi.org/10.1179/sic.2002.47.s3.016.

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Vilain, Robert. "Faust, Part Oneand France: Stapfer’s Translation, Delacroix’s Lithographs, Goethe’s Responses." Publications of the English Goethe Society 81, no. 2 (June 2012): 73–135. http://dx.doi.org/10.1179/0959368312z.0000000006.

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Rustamova, Dilnoza Ahmad kizi. "Publication History of the Diwans of Alisher Navoi in Lithographs." International Journal of Social Science Research and Review 6, no. 1 (January 6, 2023): 204–8. http://dx.doi.org/10.47814/ijssrr.v6i1.888.

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At the end of the 19th century and the beginning of the 20th century, the printing houses established in the territory of Turkestan mainly focused on printing local books. Alisher Navoi’s diwans also reached the people in thousands of copies during this period. The article sheds light on the history of the publishing of Navoi diwans, the influence of the social situation on the process, the role and importance of publishers and secretaries in it. Some diwans are touched upon and a general description is given to them. Specific aspects are proved by examples.

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Trujillo-Vazquez, Abigail, Harrie Fuller, Susanne Klein, and Carinna Parraman. "The Amber Project: A Survey of Methods and Inks for the Reproduction of the Color of Translucent Objects." Applied Sciences 12, no. 2 (January 13, 2022): 793. http://dx.doi.org/10.3390/app12020793.

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Unlike regular pigments based on selective light absorption, the so-called “effect pigments″ are based on the phenomena of structural color, or selective reflectance. Structural color has appealing aesthetic qualities, such as angle-dependent hue, and is able to produce lightfast colors. When used as a pigment, however, the gamut of the print is more limited, the color is difficult to measure, and therefore color management and preprint process become challenging. The aim of this paper is to compare the behavior of effect pigments in the processes of lithographic and screen printing with standard pigments used in so-called process inks, and to analyze their optical properties when used on their own or in combination with absorption pigments. An image of amber beads was printed as screen prints and lithographs. Three sets of inks were used: Set one: Standard process inks in the colors cyan, magenta, yellow and black (CMYK); set two: RGB inks formulated with Merck Spectraval™ pearlescent pigments which allow additive red, green, blue printing on a black substrate; and set three: golden inks formulated with pigments from the Merck Iriodin™ and Pyrisma™ effect pigment range. The image was printed on white and black paper. The optical appearance was assessed visually, and spectra and color coordinates were measured.

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Wen, Zaoxia, Xingyu Liu, Wenxiu Chen, Ruolin Zhou, Hao Wu, Yongmei Xia, and Lianbin Wu. "Progress in Polyhedral Oligomeric Silsesquioxane (POSS) Photoresists: A Comprehensive Review across Lithographic Systems." Polymers 16, no. 6 (March 19, 2024): 846. http://dx.doi.org/10.3390/polym16060846.

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This paper offers a comprehensive overview of the polyhedral oligomeric silsesquioxane (POSS) and POSS-based composites within the realm of photoresist resin. The study involves a systematic exploration and discussion of the contributions made by POSS across various lithographic systems, with specific emphasis on critical parameters such as film formation, sensitivity, resolution, solubility, and edge roughness. These lithographic systems encompass X-ray lithography (XRL), deep ultraviolet nanoimprint lithography (DUV-NIL), extreme ultraviolet lithography (EUV), and guided self-assembled lithography (DSA). The principal objective of this paper is to furnish valuable insights into the development and utilization of POSS-based photoresist materials in diverse lithographic contexts.

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Anikeeva, Tatiana A. "About Manuscripts, Lithographs and Early Printed Books of the Karakalpak Institute of Humanities." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 195. http://dx.doi.org/10.31857/s086919080016226-5.

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In the course of work in the manuscript collection of the Karakalpak Institute of Humanities (Branch of the Academy of Sciences of the Republic of Uzbekistan), a collection of manuscripts, lithographs and old-printed books was identified. It consists mainly of new arrivals (the so-called “Chimbay collection” at the place of origin of most of the manuscripts, from the city of Chimbay, formerly Shakhtemir, now in the Republic of Karakalpakstan). According to the information of the Institute's employees, Uzak Rakhmatullayev (born in 1920 in the territory of the modern Chimbay district of Karakalpakstan) collected more than 300 manuscripts and printed publications in Arabic, Persian and Turkic languages and subsequently transferred the collection to the Institute. We started its scientific description. A preliminary list of manuscripts, lithographs, and old-printed books was compiled, and they were distributed by language, chronology and subject. Among these manuscripts are works on Muslim dogmatics, Korans, poetic works (poems by Ajiniyaz, Berdakh, Suleyman Bakyrghani, Ahmad Yasavi, various destans, etc.), treatises on the grammar of the Arabic language (“Tarkib al-Awamil”), historical works, samples of calligraphy on separate folios, etc., in Arabic, Persian and Turkic languages (Chagatai, Tatar, Karakalpak). Together, they represent the area of reading of a Muslim of that era (19-first half of the 20th century) and are one of the illustrations of the close literary and cultural ties between the Aral Sea region (then the Khanate of Khiva), the Volga region, and the Ottoman Empire (where a number of manuscripts were copied).

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Ivison, E. A. "The Şeyh Murad Mescidi at Constantinople." Annual of the British School at Athens 85 (November 1990): 79–87. http://dx.doi.org/10.1017/s0068245400015586.

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The chance discovery of a unique unpublished nineteenth-century photograph in the archive of the BSA has led to the re-discovery of one of the lost Byzantine churches of Constantinople. The church, known as the Seyh Murad Mescidi, was destroyed by 1880, and is preserved only through two lithographs and descriptions. These sources are re-accessed in the light of the BSA photograph, and a Comnene date for the main part of the building is proposed, with Palaeologan additions. Previous attributions concerning the church's Byzantine dedication are examined and found wanting. An alternative dedication, to the Prophet Elisha, is suggested.

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Raykhlina, Yelizaveta. "Physiological Illustration and a Women’s Fashion Magazine: Vasilii Timm’s Satirical Cartoons in Listok dlia svetskikh liudei, 1843–1844." Experiment 28, no. 1 (December 21, 2022): 24–43. http://dx.doi.org/10.30965/2211730x-12340033.

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Abstract The women’s fashion magazine Listok dlia svetskikh liudei (1839–1845) printed satirical lithographs by the Russo-Baltic artist Vasilii Fedorovich Timm in 1843–1844, providing an important forum for merging the physiological sketch with the fashion press. Listok presented Timm with a serialized format, whereby his satirical cartoons adapted the physiological sketch to a largely female readership, commenting on courtship, relationships, male vices, as well as social ills, urban life, and the state of journalism in the 1840s. Listok offered visual commentary on issues important to female readers as well as broader observations of Petersburg life and Russian society.

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Hegel, Robert E., and Don J. Cohn. "Vignettes from the Chinese: Lithographs from Shanghai in the Late Nineteenth Century." Chinese Literature: Essays, Articles, Reviews (CLEAR) 10, no. 1/2 (July 1988): 199. http://dx.doi.org/10.2307/495158.

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35

Rustamova, Dilnoza. "Copies of lithographs of Alisher Navoi's diwans in Turkestan and other regions." Golden Scripts 4, no. 3 (September 10, 2022): 59–77. http://dx.doi.org/10.52773/tsuull.gold.2022.3/gxcg2939.

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Although printing was introduced in Turkestan nearly 5 centuries after Gutenberg’s invention, its rapid development gained serious importance in the country’s cultural life. First, the appearance of state printing houses in the Governorate of Turkestan and the Khanate of Khiva, and then private printing houses, served as the main helper of the period in the wide distribution of local books.When counting the most valuable books published in the printing houses of cities such as Tashkent, Samarkand, Bukhara, Khiva, Kokand, Andijan, Namangan, Alisher Navoi’s works undoubtedly occupy a significant place. According to the research carried out until today, during the years 1879-1917, the works of the great poet were published more than 70 times.

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36

Johnson, Carol Siri. "The Evolution of Illustrated Texts and Their Effect on Science: Examples from Early American State Geological Reports." Leonardo 41, no. 2 (April 2008): 120–27. http://dx.doi.org/10.1162/leon.2008.41.2.120.

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In the 19th century, printing methods made significant advances that allowed mass production of illustrated texts; prior to that time, illustrated texts were expensive and rare. The number of illustrated texts thus rose exponentially, increasing the rate of information transfer among scientists, engineers and the general public. The early American state geological reports, funded by the state legislatures, were among the pioneering volumes that used the new graphic capabilities in the improved printing processes for the advancement of science. They contain thousands of illustrations—woodcuts, etchings, lithographs and hand-painted maps—that may be of interest to historians of science, technology, art and culture.

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Bulkeley, Rip. "Pictures from an Antarctic expedition: Mikhailov on the Bellingshausen voyage." Polar Record 49, no. 4 (December 6, 2011): 409–12. http://dx.doi.org/10.1017/s003224741100074x.

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ABSTRACTThe artist Pavel Nikolayevich Mikhailov (1786–1840) took part in the Antarctic expedition of the Imperial Russian Navy commanded by Captain F.F. Bellingshausen from 1819 to 1821. The author was invited to view the collection of Mikhailov's work, from two expeditions, that is held at the Russian Museum, St Petersburg. The Bellingshausen pieces in the collection are described, and their relationships to the smaller collection of Mikhailov's work for the Bellingshausen expedition, held at the State Historical Museum in Moscow, to the lithographs in the Atlas volume of Bellingshausen's published narrative, and to the various versions of Mikhailov's images that have been published in the 20th and 21st centuries, are discussed.

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PETTERSON, ANNE. "The monumental landscape from below: public statues, popular interaction and nationalism in late nineteenth-century Amsterdam." Urban History 46, no. 04 (February 20, 2019): 722–46. http://dx.doi.org/10.1017/s0963926819000154.

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ABSTRACT:Public monuments are considered an important tool in the nineteenth-century nation-building project. Yet while the intended (nationalist) message of the monumental landscape is often clear, the popular perception of the statues and memorials has been little problematized. This contribution analyses the popular interaction with public monuments in late nineteenth-century Amsterdam and questions whether ordinary people understood the nationalist meaning. With the help of visual sources – engravings, lithographs and the novel medium of photography – we become aware of the multilayered meanings and usages of the monuments in daily urban life, thus tackling the methodological challenge of studying the monumental landscape from below.

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Kochańska, Agnieszka. "Romantic Joseph Lenné Landscape Park in Zatonie Near Zielona Góra as a Relic of Garden Art - Modern-Day Transformations and Threats." Civil And Environmental Engineering Reports 22, no. 3 (September 1, 2016): 69–80. http://dx.doi.org/10.1515/ceer-2016-0036.

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Abstract The romantic landscape park was established in 1824 by order of one of the best-known aristocrats at the time, Princess Dorothea Talleyrand Perigold, Dutchess of Dino. The park is an example of amenity horticulture of artistic value that has survived to this day. The creator of the park was the talented landscape architect Peter Joseph Lenné. In its current state, the park differs significantly from the image on lithographs of the past. Upon carrying out field investigations and comparative studies, it was established that the maintained stand of tress holds high compositional value. The conclusions of the article define the current threats to the longevity of the park as well as highlighting the plan of revalorization works.

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WATT, F., A. A. BETTIOL, J. A. VAN KAN, E. J. TEO, and M. B. H. BREESE. "ION BEAM LITHOGRAPHY AND NANOFABRICATION: A REVIEW." International Journal of Nanoscience 04, no. 03 (June 2005): 269–86. http://dx.doi.org/10.1142/s0219581x05003139.

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To overcome the diffraction constraints of traditional optical lithography, the next generation lithographies (NGLs) will utilize any one or more of EUV (extreme ultraviolet), X-ray, electron or ion beam technologies to produce sub-100 nm features. Perhaps the most under-developed and under-rated is the utilization of ions for lithographic purposes. All three ion beam techniques, FIB (Focused Ion Beam), Proton Beam Writing (p-beam writing) and Ion Projection Lithography (IPL) have now breached the technologically difficult 100 nm barrier, and are now capable of fabricating structures at the nanoscale. FIB, p-beam writing and IPL have the flexibility and potential to become leading contenders as NGLs. The three ion beam techniques have widely different attributes, and as such have their own strengths, niche areas and application areas. The physical principles underlying ion beam interactions with materials are described, together with a comparison with other lithographic techniques (electron beam writing and EUV/X-ray lithography). IPL follows the traditional lines of lithography, utilizing large area masks through which a pattern is replicated in resist material which can be used to modify the near-surface properties. In IPL, the complete absence of diffraction effects coupled with ability to tailor the depth of ion penetration to suit the resist thickness or the depth of modification are prime characteristics of this technique, as is the ability to pattern a large area in a single brief irradiation exposure without any wet processing steps. p-beam writing and FIB are direct write (maskless) processes, which for a long time have been considered too slow for mass production. However, these two techniques may have some distinct advantages when used in combination with nanoimprinting and pattern transfer. FIB can produce master stamps in any material, and p-beam writing is ideal for producing three-dimensional high-aspect ratio metallic stamps of precise geometry. The transfer of large scale patterns using nanoimprinting represents a technique of high potential for the mass production of a new generation of high area, high density, low dimensional structures. Finally a cross section of applications are chosen to demonstrate the potential of these new generation ion beam nanolithographies.

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41

Попович, Катерина. "Lithographs of Kyiv artists in the book graphics of the 1970-1980’s." Art Research of Ukraine, no. 19 (December 5, 2019): 151–57. http://dx.doi.org/10.31500/2309-8155.19.2019.185986.

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Parrish, William E., and John W. Reps. "Saint Louis Illustrated: Nineteenth-Century Engravings and Lithographs of a Mississippi River Metropolis." Journal of American History 77, no. 2 (September 1990): 663. http://dx.doi.org/10.2307/2079237.

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Hasegawa, Masami, and Sayako Kuroda. "Phylogeny mandalas of birds using the lithographs of John Gould’s folio bird books." Molecular Phylogenetics and Evolution 117 (December 2017): 141–49. http://dx.doi.org/10.1016/j.ympev.2016.12.005.

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44

Severens, Kenneth, and John W. Reps. "Saint Louis Illustrated: Nineteenth-Century Engravings and Lithographs of a Mississippi River Metropolis." Journal of Southern History 57, no. 1 (February 1991): 98. http://dx.doi.org/10.2307/2209884.

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45

Levine, Robert M. "Faces of Brazilian Slavery: The Cartes de Visite of Christiano Júnior." Americas 47, no. 2 (October 1990): 127–59. http://dx.doi.org/10.2307/1007369.

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Photographs probably expanded more horizons and redefined more ways of knowing the world than any other product of nineteenth-century technology. The first daguerreotypes appeared in the Western Hemisphere merely months after the triumphal announcement of Daguerre's process by the French Academy in 1839. In the next three decades, millions of photographic images were produced. Three distinct categories predominated: studio portraits, scenic views for collectors and, after the early 1850s, photographic images transferred to woodcuts and, later, lithographs for publication as line sketches in illustrated newspapers and magazines. Photographic “science” complemented neatly the elite's striving for ways to affirm the region's material progress. Photographers played a vital role in presenting to the world a vision rooted in the aspirations of the dominant members of society.

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46

Aldrich, Megan. "Gothic Architecture Illustrated: the Drawings of Thomas Rickman in New York." Antiquaries Journal 65, no. 2 (September 1985): 427–33. http://dx.doi.org/10.1017/s0003581500027207.

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In the Avery Architectural and Fine Arts Library of Columbia University in New York is an interleaved second (1819) edition of Thomas Rickman's An Attempt to Discriminate the Styles of English Architecture. This volume contains sixty-six relatively unknown illustrations of medieval architecture in Rickman's hand which can be dated to the later 1830s. It was discovered that many of these drawings in the Avery Library were either traced outright or modelled after plates from well-known contemporary works on architecture, in particular the works of John Britton. There is reason to think that Rickman may have purchased the rights to Britton 's plates and other sources, revised them, and had intended to reprint them as lithographs to illustrate afifth edition of An Attempt.

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47

Ioannesyan, Youli A. "Vladimir Alekseevich Ivanov — a World-Class Expert on Iranian Studies. Part 1." Письменные памятники Востока 21, no. 1 (May 21, 2024): 115–34. http://dx.doi.org/10.55512/wmo627287.

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The article is devoted to the outstanding 20th-century researcher of Iran — V.A. Ivanov (or Wladimir Ivanow, as he often styled himself), whose scholarly studies combined two spheres: Persian/Iranian dialectology and Ismailism, while he himself stood at the origins of research in both these spheres. The author tried to consider Ivanov’s studies in both these areas altogether for a full-scale assessment of his great personality as a scholar, as well as of his contribution to world Oriental studies. The article, published in two parts, includes V.A. Ivanov’s biography, sections concerning his works on linguistics/ethnography and Ismailism, as well as data on the significant replenishment by Ivanov of the IOM, RAS, collection of manuscripts and lithographs. Among the sources used for the article are V.A. Ivanov’s own memoirs and IOM, RAS, archival materials.

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Ioannesyan, Yuliy A. "Wladimir Alekseevich Ivanow — an Outstanding World-Scale Iranologist. Part 2." Письменные памятники Востока 21, no. 2 (July 21, 2024): 68–86. http://dx.doi.org/10.55512/wmo632336.

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The article is devoted to the outstanding 20th-century researcher of Iran — V.A. Ivanov (or Wladimir Ivanow, as he often styled himself), whose scholarly studies combined two spheres: Persian/Iranian dialectology and Ismailism, while he himself stood at the origins of research in both these spheres. The author tried to consider Ivanov’s studies in both these areas altogether for a full-scale assessment of his great personality as a scholar, as well as of his contribution to world Oriental studies. The article, published in two parts, includes V.A. Ivanov’s biography, sections concerning his works on linguistics/ethnography and Ismailism, as well as data on the significant replenishment by Ivanov of the IOM, RAS, collection of manuscripts and lithographs. Among the sources used for the article are V.A. Ivanov’s own memoirs and IOM, RAS, archival materials.

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Voznyuk G. V., Grigorenko I. N., Mitrofanov M. I., Nikolaev V. V., and Evtikhiev V. P. "Subwave textured surfaces for the radiation coupling from the waveguide." Technical Physics Letters 48, no. 3 (2022): 76. http://dx.doi.org/10.21883/tpl.2022.03.52896.19103.

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The paper presents a procedure for creating on GaAs(100) substrates textured surfaces by ion-beam etching with a focused beam. The possibility of flexibly controlling the shape and profile of the formed submicron elements of textured media is shown; this will later allow formation of textured surfaces of almost any complexity for realizing the surface radiation coupling from the waveguide. Original lithographic masks were developed, and 3D lithography was accomplished. The obtained lithographic patterns were controlled by the methods of optical, electron and atomic force microscopy. Keywords: ion-beam etching, metasurface, textured surface, lithography, surface coupling of radiation.

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Prakoso, Emmanuel Putro, Inovensius Hugo Bima Wicaksana, Nick Soedarso, and Rina Carina. "TEKNIK CETAK DATAR KITCHEN LITHOGRAPY SEBAGAI MEDIA EKSPRESI DESAIN PADA METODE REPRODUKSI GRAFIKA." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 2 (October 1, 2019): 155. http://dx.doi.org/10.25105/jdd.v4i2.5888.

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<p>Abstract</p><p><br />The Kitchen Lithography Flat Printing Technique as Design Expression Media on Graphic Reproduction Method. The lack of media innovation in lithography flat printing techniques has resulted in the process being identical to the use of limestone stones as a reference for images, while the existence of these stones is quite difficult to obtainand quite rare in Indonesia. This has resulted in fewer and fewer artists and designers<br />who are using the lithography technique in the design world. The use of aluminum foilpaper which can be reacted with certain coloring agents, raises the idea to apply the new lithography technique on aluminum foil paper media known as kitchen lithograpytechnique. This study focused on the experimental stage and exploration of aluminumfoil paper kitchen lithograpy on flat printing techniques as a design expression media.<br />The resulf of this rescach is this technigue recommended as espression media on graphic reproduction method because of not using hazardous metenal and the production process is more effizient and easy<br /><br /><strong>Abstrak</strong><br />Teknik Cetak Datar Kitchen Lithograpy sebagai Media Ekspresi Desain pada Metode Reproduksi Grafika. Kurangnya inovasi media pada teknik cetak datar lithography mengakibatkan dalam prosesnya hanya identik dengan penggunaan batu limestone saja sebagai acuan gambar, sedangkan keberadaan batu tersebut cukup sulit didapatkan dan cukup langka di Indonesia. Hal ini berdampak pada semakin sedikitnya<br />seniman dan desainer yang berkespresi mengunakan teknik lithography ini dalam dunia desain. Penggunaan kertas alumunium foil yang dapat direaksikan dengan zat pewarna tertentu, menimbulkan gagasan untuk menerapkan teknik baru lithography pada media kertas alumunium foil yang dikenal dengan istilah teknik kitchen lithograpy. Penelitian ini difokuskan pada tahap eksperimen dan eksplorasi kertas alu munium foil kitchen lithograpy pada teknik cetak datar sebagai media berekspresi desain. Hasil penelitian ini mengungkapkan bahwa teknik ini layak sebagai media ekspresi desain pada metode reproduksi grafika karena tidak menggunakan zat-zat berbahaya, serta penggunaan bahan dan alat lebih mudah dan efisien.</p>

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